Usman Haque, Sky Ear, 2004.
The artist testing part of the structure, March 2004.
This non-rigid "cloud" is embedded with mobile phones. The balloons contain miniature sensor circuits that detect levels of electromagnetic radiation at a variety of frequencies. When activated, the sensor circuits cause ultra-bright coloured LEDs to illuminate. The cloud glows and flickers brightly as it passes through varying radio and microwave spaces. As visitors to the event call into the cloud to listen to the distant electromagnetic sounds of the sky, their mobile phone calls change the local hertzian topography; these disturbances in the electromagnetic fields inside the cloud alter the glow intensity of that part of the balloon cloud.
Courtesy of Usman Haque.
Usman Haque, Sky Ear, 2004.
On September 15, 2004 at the National Maritime Museum, Greenwich Park, London, England.
Courtesy of Usman Haque.
Vishal Rawlley and Kurnal Rawat, Typocity, 2003.
The Fort district is the oldest office district of Bombay. It is still an important commercial hub with the headquarters of many established enterprises located here. The area has largely retained its important officious air with grand letters marking imposing old buildings. The clutter of tiny establishments, street shops and branded stores, which is a characteristic of other commercial areas of Bombay, is slowly encroaching upon this area also. The large beveled sans serif moulded lettering is slowly coming apart and banners, translites and neons are sprouting up.
Courtesy of the artists.
Vishal Rawlley and Kurnal Rawat, Typocity, 2003.
Mohammed Ali Road is one of the oldest districts of Bombay with a 'City of Djins' feel to it. Here one enters into a time warp; the area is populated by Muslims; old shops often selling exotic things like perfume and surma (eyeliner) are found here. The lettering and their formations borrow a lot from the Islamic calligraphic style even when they are in English.
Courtesy of the artists.
Vishal Rawlley and Kurnal Rawat, Typocity, 2003.
Billboard painters will soon be a rare sight as large format digital print machines outstrip their utility.
Courtesy of the artists.
Jessica Loseby, Lapdance, 2001.
Screen capture.
Courtesy of the artist.
Jessica Loseby, restricted movement, 2001.
Screen capture.
Courtesy of the artist.
Char Davies, Seed Bloom, 1996-1998.
Real-time frame capture from Éphémère.
Courtesy of the artist.
Char Davies, Forest and Grid, 1995.
Real-time frame capture from Osmose.
Courtesy of the artist.
Char Davies, Winter Swamp, 1996-1998.
Real-time frame capture from Éphémère.
Courtesy of the artist.
Char Davies, Bones (Ending III), 1996-1998.
Real-time frame capture from Éphémère.
Courtesy of the artist.
Jessica Loseby, Anger, 2001.
Screen capture.
Courtesy of the artist.
Jessica Loseby, views from the ground floor, 2003.
Screen capture.
Courtesy of the artist.
Jessica Loseby, views from the ground floor, 2003.
Screen capture.
Courtesy of the artist.
Bill Vorn and Louis-Philippe Demers, La Cour des Miracles, 1997.
Interactive robotic installation.
Photo: Bill Vorn.
Courtesy of Bill Vorn and Louis-Philippe Demers.
Ventspils International Radio Astronomy Centre, Irbene, Latvia
Eduardo Kac, GFP Bunny (2000).
Courtesy of the artist.
Adam Zaretsky, Working sketch for MMMM (or Macro Micro Music Massage), 2001.
Ballpoint pen on water colour paper.
Courtesy of the artist.
Adam Zaretsky, Working sketch for WorkHorse Zoo, 2001.
Ballpoint pen on water colour paper.
Courtesy of the artist.
Adam Zaretsky, Humper-Discoverer, 2000.
Collage by Adam Zaretsky, video stills by Yoshie Suzuki and Wayne Sullins.
Courtesy of the artist.
Adam Zaretsky, Jammin' w/E. coli, 2000.
Collage by Adam Zaretsky, video stills by Yoshie Suzuki and Wayne Sullins.
Courtesy of the artist.
Bill Vorn and Louis-Philippe Demers, Le Procès, 1999.
Robotic performance.
Photo: Bill Vorn.
Courtesy of Bill Vorn and Louis-Philippe Demers.
Bill Vorn, Evil/Live, 1997.
Interactive audio-visual installation.
Photo: Miguel Trillo.
Courtesy of Bill Vorn and the SONAR Festival (Barcelona, Spain).
Simon Penny, Big Father, 1991-1992.
Interactive robotic installation.
Photo: Simon Penny. Courtesy of the artist.
Bill Vorn, Evil/Live 2, 2002.
Interactive audio-visual installation.
Courtesy of Bill Vorn.
Lynn Hershman, Tillie, the Telerobotic Doll, 1995-1998.
Courtesy of the artist.
Sponge/FoAM, TGarden, 2000.
Ars Electronica performance (2001).
Courtesy of Sponge and FoAM.
Dr. Mark Lythgoe, Magnetic resonance image (MRI) used for the project Mapping Perception, 2000.
3 Dimensional functional MRI of Mark Lythgoe's head. The red area indicates the region of the brain active when smell is tested in a subject during an fMRI scan.
Courtesy of Dr. Mark Lythgoe, Institute of Child Health and Proboscis.
Martin Kusch and Marie-Claude Poulin, schème, Siamese Twins Connected to a Projected Space Illusion, 2001.
Choreography with interactive devices.
Interpreted by Marie-Claude Poulin and Line Nault during a residency at L'Agora de la Danse, Montreal, 2001.
Photo: Martin Kusch and Johan Versteegh.
Courtesy of kondition pluriel.
Martin Kusch and Marie-Claude Poulin, schème, Siamese Twins Connected to a Projected Space Illusion, 2001.
Choreography with interactive devices.
Interpreted by Marie-Claude Poulin and Line Nault during a residency at L'Agora de la Danse, Montreal, 2001.
Photo: Martin Kusch and Johan Versteegh.
Courtesy of kondition pluriel.
Martin Kusch and Marie-Claude Poulin, schème, Fixed body with a "gone" head, physically present but mentally elsewhere, 2001.
Choreography with interactive devices.
Interpreted by Marie-Claude Poulin during a residency at L'Agora de la Danse, Montreal, 2001.
Photo: Martin Kusch and Johan Versteegh.
Courtesy of kondition pluriel.
John Klima, Terrain Machine, 2002.
Multi-media installation.
Rod matrix. The up and down movements of the rods create surface features as in a pin screen.
Courtesy of John Klima.
John Klima, Terrain Machine, 2002.
Multi-media installation.
Mechanical components (triggers, actuators) moving the rod according to specific topographical data.
Courtesy of John Klima.
Martin Kusch, As Far as In-between, 1994.
Interactive video installation. Photo: Martin Kusch.
Courtesy of the artist.
Martin Kusch, As Far as In-between, 1994.
Interactive video installation. Photo: Martin Kusch.
Courtesy of the artist.
Chris Csikszentmihályi, Afghan Explorer, 2001.
Diagram.
Courtesy of the artist.
Pat Binder in front of the Foto/Graphik Galerie Käthe Kollwitz, 2000
Foto/Graphik Galerie Käthe Kollwitz, 1999-2000.
View of the Foto/Graphik Galerie Käthe Kollwitz featuring the work of Dmitri Prigov.
Courtesy of Pat Binder.
[The User], Symphony for dot matrix printers, 1997-1999.
Performance at the FCMM, 1998.
Courtesy of [The User].
[The User], Symphony for dot matrix printers, 1997-1999.
Photo: Frédéric Ste-Marie.
Courtesy of [The User].
Lynn Hershman, Reach (Phantom Limb Series), 1988.
Gelatin silver print.
Courtesy of the artist.
Lynn Hershman, Shutter (Phantom Limb Series), 1988.
Gelatin silver print.
Courtesy of the artist.
Lynn Hershman, Seduction (Phantom Limb Series), 1988.
Gelatin silver print.
Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Virtual Body, 1993.
Courtesy of the artist
Luc Courchesne, The Visitor: Living by Numbers, 2001.
Courtesy of the artist.
Luc Courchesne, Horizons (2007).
Video still. Projected video in a loop, 9 min., colour, sound, variable dimensions.
Courtesy of the artist and Pierre-François Ouellette art contemporain gallery.
Luc Courchesne, Landscape One, 1997.
General view. Multi-user interactive panoramic video installation.
Photo: Richard-Max Tremblay. Courtesy of the artist.